Each work is made from multiple sheets of hand-sewn white glass beads that are often painted and stained with color. From a distance, they resemble used “paint rags” or old paper towels – that get exponentially more beautiful the closer you look. My (very rough) estimate is that each 14-inch square hold around 20,000 beads. The completed works are composed of a grid of many squares, often layered 2 or 3 sheets deep. To achieve the veil-like patches, Liza smashes and
<a href="https://design-milk.com/beads-become-clouds-art-liza-lou/liza_lou_lehmann_maupin_17/" data-wpel-link="internal"><img src="https://design-milk.com/images/2018/09/Liza_Lou_Lehmann_Maupin_17-810x540.jpg" alt="Beads Become Clouds: The Art of Liza Lou" /></a> The newest beaded sculptures by L.A. artist <a href="http://lizalou.com/" data-wpel-link="external" rel="external noopener noreferrer">Liza Lou</a> are on view at <a href="https://www.lehmannmaupin.com/exhibitions/liza-lou2" data-wpel-link="external" rel="external noopener noreferrer">Lehmann Maupin Gallery</a> in New York this month. These may be the most intricate and mesmerizing contemporary artworks this fall… and that’s before you find out how they’re made.
sections of the work, breaking the glass beads and revealing the thread matrix. In other words: to create the most beautiful effects, hours of labor had to be destroyed. Liza has been recognized for her beaded sculptures and installations since the mid-90s that often resemble real objects: a full-size kitchen, a mile-long rope, and a chain link fence – all made from beads. This new direction was inspired by the differences in cloud formations between her two home bases: Los Angeles and Durban, South Africa. The largest work in the gallery is the wall-filling “The Clouds” (2015-2018)- a grid of 600 squares measuring a total 50 feet wide by 23 feet tall. The scale literally fills your field of view, which truly does feel more like an atmosphere than an object. In addition to the beading, Liza also makes drawings that resemble thousands of beads. The greatest surprise of the exhibition is hidden in the basement (take the elevator – open to the public) – a video work titled “Drawing Instrument” which records and remixes her unique drawing practice of singing while she works. With every stroke of her pen, Liza makes a sound effect with her voice. The video combines multiple layers of tracks to create hypnotically beautiful music compositions while you watch her mark-making. I captured this short clip on my iPhone to give a hint of just how magical it is. And there’s MORE! Two blocks south, at Lehmann Maupin’s 22nd street location, a small room is dedicated to a different body of Liza’s work. Unlike the “cloud” works that are made from identical-sized white beads, these sculptures were created using different-sized beads that warp and push the structure into forms that resemble lava formations or growths of moss. Liza Lou’s “Classification and Nomenclature of Clouds” is on view until the end of October. My only suggestion is to plan on staying a few minutes longer than you think you’ll need, because you won’t want to leave. What: Liza Lou: Classification and Nomenclature of Clouds
Where: Lehmann Maupin Gallery, 501 W 24th Street and 536 W 22nd Street, New York, NY
When: September 6 – October 27, 2018 All photos by Joshua White unless otherwise noted. Courtesy the artist and Lehmann Maupin, New York, Hong Kong, and Seoul.
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